Tag Archives: vampires

If Dave Mustaine’s acid wash jeans were somehow transformed into a vampire movie, that movie would be Leif Jonker’sDarkness, and holy fuck, would it ever be awesome. Purported to have been written by Jonker when he was a mere 17 years of age and shot over the course of nearly three years in a Kansas Suburb, Darkness is an ultra low-budget, high gore Vampire film featuring a small band of teen agers fighting for their lives against a legion of their now undead peers. Here’s a fun drinking game for you and your friends to play; stick a copy of Darkness into your DVD player and take a shot every time you see the most metal shit you’ve ever seen in your entire life. You will all succumb to alcohol poisoning and die instantly.

Story isn’t a HUGE part of the equation here, remember, this is said to have been written by a 17 year old. I believe it, too, the plot is about what you’d expect to see in the spiral notebook drawings of the kid in your science class who wore the exact same Cannibal Corpse T-shirt everyday and never made eye contact with anybody. As it is, the story goes as such: A wave of vampire attacks is sweeping across Kansas, hitting each town one by one. Tobe, a mullet sporting teenaged survivor of one such attack, takes to the road on a mission to hunt the blood suckers down and slay them all in an act of awesome, heavy metal revenge. Meanwhile, another group of angsty youths, who were out of town at a metal concert (hell yeah) on the night their town got hit, return home to discover the grisly aftermath of last night’s vampire onslaught, and are immediately forced to struggle for survival amongst a sea of soulless, gore caked ghouls. They soon happen upon Tobe, and decide join him in his quest, since they sure as shit aren’t getting much done on their own, and evidently his background stocking convenience store shelves has somehow prepared Tobe for Vampire combat in a way few could have predicted. Thing happen, people get chased, people get bit, and it all builds up to a climax that delivers in a big way. I’ve been told that spoiling the end of these movies is irritating, so that’s all I’m going to say, but I do want to assure you: shit get’s awesome.

I’ve chosen to include the following pictures to substantiate my claim that this shit is rad as fuck:

I believe I have made my point.

Jonker clearly loved The Evil Dead, and one can spot that films as an influence routinely throughout Darkness, but it also feels somewhat reminiscent of The Dead Next Door, partially because of it’s washy, grainy aesthetic. It sorta looks like it was shot on Super 8, although I can’t be sure, but the washed out, fuzzy look actually lends itself well to Darkness‘ bleak, suburban hellscape atmosphere. In this case, it feels like a boon, and not a detriment. Occasionally we get some pretty effective visuals, and the film is executed quite admirably considering the complete drought of budget or resources available. The special effects in particular are nothing less than excellent, Darkness makes it a point to deliver big on blood and gore, because they know that’s about all they can promise the audience. The overall experience feels something like a middle point between The Evil Dead and Violent Shit (Review), and yes, I know, that’s fucking rad as hell. Actually, I might put this closer to Premutos, as it’s significantly better made than Violent Shit… but still much less accessible or polished than The Evil Dead.

Hey, look, MORE awesome shit.

And yes, it is super, super metal. This is the most metal film I’ve seen since Transformers The Movie(the cartoon one. The good one!) There are almost no adults in the entire film, suggesting that for three years, this was easily the coolest thing to do in Wichita if you were between the ages of 15 and 20 (and you were doing homework like a sucker!). It’s just a massive legion of butt rock kids running around in the dark, being mutilated and/or horribly mutilating each other, decked out to the nines with the best fake blood a minimum wage fast food job can buy, and set to a soundtrack of gloomy tones and underground thrash metal. I hope it’s coming across that I mean this all in the best way possible, Darkness, in many ways, delivers big time on promises that much more notorious splatter films fail to keep.

I will openly admit, however, that it’s absolutely not for everyone. The acting is amateurish (or worse), many of the shots aren’t lit for shit, the sound is poor, and some cuts of the film are over-narrated with an lame voice over that doesn’t add much to the film… in other words, all the traditional pitfalls of Splatter Cinema are here in full force. If any of those things bother you, then you’re not going to love this movie much at all. As for the rest of you, Darkness is quite possibly the dragon you’ve been chasing all this time. It is a fantastic example of what it wants to be, and is, no exaggeration, one of the best splatter films I’ve ever managed to track down.

What would you say, however, if I were to tell you that Asia had done us one better, and that they had taken this winning formula and added a third element? That’s right! Prepare yourself, for Hong Kong’s Mr. Vampire, because this film is an open portal to a whole new world, to the realm of the MARTIAL ARTS/HORROR/COMEDY, and friend, those three things go together like chocolate, peanut butter, and wicked sweet karate chops.

The best films of this type came out of the Hong Kong genre film boom of the 1980’s, and while Mr. Vampire isn’t the first movie to meld these three wonderful ingredients together, it’s absolutely my favorite. Americans don’t seem to know about Mr. Vampire yet, but it’s honestly not out of line to call this one of the greatest horror comedies ever made. We need to get familiar with it.

THE PLOT- When a prominent citizen seeks to dig up and then rebury his father for good luck (Apparently that’s allowed in Hong Kong? Even encouraged?!) he seeks out the help of a cunning priest and his two bumbling assistants to make sure this grave desecration is all done by the book, but lo and behold, something is amiss, and when the grave is exhumed, it’s occupant is found to be a damn vampire. This sets off a freaky Asian vampire chain reaction, and the hijinks which follow are of a most wacky variety indeed.

First thing I need to clarify- These are not the typical “white guy in a cape” style European variety vampires that most Americans are familiar with. The blood suckers in this movie are the famed Chinese “hopping vampires,” a breed of ghoul which literally hops around in order to move, due to a debilitating stiffness of the body, brought on by rigor mortis. Additionally, these creatures are thought to be blind, and thus must seek out their victims by listening for the sound of a beating heart- meaning that holding your breath and standing still can make you “invisible” to them, at least, until you have to breathe again. Of course, there are one or two vampires in this film who seem to be exceptions to those rules, but I don’t know how the whole Chinese vampire thing works, dude. All I know is that most of these guys hop around, and I love it.

Conga line- OF THE DAMMED! (Those are all vampires following that dude.)

Mr. Vampire is really, really great. As mentioned above, it’s a martial arts/horror/comedy, but the movie clearly aims for laughs above all else, and in fact, all of the horror and kung fu stuff is done in the service of humor, so even at it’s scariest, or in the heat of it’s most strenuously choreographed fight scene, Mr. Vampire never wants you to be too far away from a smile. The narrative seems to be closely modeled after what you might see in an old-fashioned stage play, it’s all simple, character driven, misunderstanding based comedic routines which largely take place in small, single room spaces, and which are broken down into individual, self-contained chunks. Mr. Vampire could work equally well in a live theater format as it does on the big screen, and this old fashioned style of narrative has a certain specialness built into it which is a woefully absent from movies today. Another factor which helps give Mr. Vampire a classic feel is it’s relatively clean subject matter. It’s not exactly G rated, there are a few suggestive jabs here and there which will raise eyebrows amongst those with more puritanical sensibilities, but Mr. Vampire is more cheeky than it is smutty. It’s a film with an inherent, lighthearted innocence, and even for a deranged and diseased mind like mine, that’s nice once in a while.

The Kung Fu sequences in this picture are all great, too, and they don’t overstay their welcome, we have just enough of them that when one comes around, it’s exciting, and never boring. Part of Mr. Vampire’s recipe for kung-fu success is that even these fight scenes are meant to be humorous, they don’t feel violent so much as wacky, so it’s really easy to have fun watching them even if you don’t have any interest in Kung Fu whatsoever.

There are very few flaws worth mentioning in Mr. Vampire, it has a few hokey special effects, but they’re hokey due to vintage, not laziness or ineptitude, so they end up feeling more charming than embarrassing. There is also a subplot in here about one of the bumbling assistants being seduced by a female ghost which probably would have been written out if this were shot in the west, because it doesn’t really drive the plot forward in any direct way. I don’t count this subplot as a mark against Mr. Vampire, however, because it further contributes to the old fashioned feel of the film, and also results in some really fun sequences I wouldn’t want to lose, regardless of the structural “imperfections.” Let’s not be script Nazis, Mr. Vampire can have its ghost subplot if it wants to.

Maybe the biggest flaw that people tend to point out about Mr. Vampire is that it ISN’T Spooky Encounters, another excellent martial arts horror comedy which preceded this film by five years. Aledgley, this movie is a bit of a retread, which I guess is true… Mr. Vampire probably wouldn’t exist if Spooky Encounters hadn’t been made first, but in my mind, this is the superior movie. I’d call Mr. Vampire ‘The Formula Perfected’ before I called it a rehashing, and to date I’ve never seen a better Martial Arts/Horror/Comedy, and brother, I have certainly tried.

Thematically, there is some stuff in here about Modernization versus tradition; the film takes place in Hong Kong during an era where the British have brought in European customs with modern forms of government and policing, yet by and large, the people of China prefer to operate as they have for generations, and this sets up an interesting conflict for our main characters. As traditional Taoists priests, they find themselves compelled to work toward the good of the people by using traditional methods, exclusively based upon spiritualism, while the newly modernized police force regards their practices, and even the threat of vampirism itself as total mumbo jumbo. As a result, these police function more as an impediment to our characters than anything else, and this is a major source of conflict early on in Mr. Vampire. Later in the film, however, after things have passed the point of no return, vampire style, the police finally accept their inability to deal with the now all-too-obvious ghoul epidemic, and the film switches gears ever so slightly. Suddenly, and for the first time, the vampire threat starts to look a little bit more like a biological plague, as if only now, with things at their worst, does the movie start to consider the notion that perhaps our Priests don’t know what they’re doing, and perhaps spiritualism really has become obsolete in serving the needs of a modernized society? At this point, when even the police have put their faith in religion to save the day, we begin to see our stalwart Taoist in a position of weakness and doubt, and he seems to feel unsure about his ability to combat this threat after all. This short sequence is Mr. Vampire at it’s most introspective, but it’s quite subtle. Still, if you had to point out any specific centerpiece for the film’s chief metaphor, it would be the scene I’m talking about here.

The movie does a good job with these ideas, and we end up with an interesting back and forth that investigates the grey area you get when a culture with deep roots in tradition tries to jump ahead a few centuries overnight, with some areas taking longer to catch up than others. It’s well done, but these sombre and contemplative moments are fairly brief. I know that it may not seem like it after I’ve highlighted them in this way, but these themes are actually explored so casually that they could almost be in here by accident. Mr Vampire, is about those ideas, yes, but it really is about comedy first and foremost. Even at it’s darkest, Mr. Vampire is far from a heavy experience, it stays lighthearted, fun, and is periodically, legitimately hilarious.

This truly is a fantastic example of the mighty martial arts/horror/comedy sub-genre, and damn, it’s super deserving of some long overdue praise from we Western audiences. It would also make an excellent double feature alongside Roman Polanksi’s The Fearless Vampire Killers, but I would suggest you do anything you need to do to see Mr. Vampire asap, because it’s a freakin’ masterpiece.

Ogroff is a low budget, nonsensical French gore film about a masked Frenchman who lives in a shack in the woods and massacres anyone who blunders into his little world, which actually seems pretty easy to do. People wander all over his woods like it’s no big deal all the time! Ogroff always finds them, too, one lady doesn’t even leave the highway, she just pulls over and walks to the rear of her vehicle and somehow Ogroff is already in her trunk, just chompin’ at the bit to do some mutilating. The movie does nothing to smooth over how hard that makes no sense at all. It’s sort of like a French version of Violent Shit, but although the craftsmanship is arguably slightly better than it’s German cousin, from a narrative, or even artistic perspective, Ogroff lags miles behind, and that’s a terrifying statement. Simply put, the film is real, real horrible, like so horrible it makes Andy Milligan or J. Piquer Simon look like Orson Wells by comparison. Apparently, director Norbert Georges Mount was a video store clerk by day and a filmmaker on the side when he shot Ogroff. Most people are aware that Quentin Tarantino was at one time himself a video store clerk, but not everyone who works at Home Depot is qualified to build your house for you. We should remember that.

THE PLOT~ Ogroff lives in his flimsy shack in the woods, where his right to mutilate is utterly unchallenged by any form of resistance, and where people constantly intrude with no apparent knowledge of danger, only to be mutilated, by Ogroff. He loves it!

He’s a pretty happy guy, all things considered!

Most of the people in this film are such horrible actors that they stare Ogroff, actively in the process of killing them, dead in the face with no expression whatsoever, as though partial facial paralysis was a mandatory requirement to audition for a role in the movie. They wander about, completely unresponsive to their surroundings or the situation. It’s like a nearby android manufacturing plant suffered storm damage and now all the droids have escaped and are wandering about the countryside without their brains plugged in. Basically, Ogroff is all about gore laden games of cat and mouse, but with the element of suspense completely absent from the equation entirely.

Until it changes it’s mind about what it wants to be. For a while, Ogroff is effectively, a slasher. HOWEVER… at some point in the film (Maybe around the nine hour mark? Ogroff drags on for days) Ogroff chooses to spare one of his victims, so that he might enjoy her companionship. She actually doesn’t seem too put off by this, and sort of jumps into the backwoods murderer lifestyle relatively easily, until, that is, curiosity gets the better of her and she decides to investigate what Ogroff has in his cellar.

Apparently, and for reasons that are never explained in any way, Casa De Ogroff is like, crammed to the gills with zombies. Ogroff apparently collects them. Many are kept in the cellar, under a flimsy, unsecured hatch, which apparently did the job in keeping them all rounded up just fine until whatshername peeks down there, and then all hell breaks loose. Not only does her intrusion rile up the Undead Basement Bunch, it seemingly activates all zombies, worldwide, because from this point forward this is no longer a slasher, but instead a zombie film, and Ogroff’s Creep Pad is swarming with ghouls in seconds. They literally come out of the walls, but it’s not just Ogroff’s place, the forest surrounding the shack is completely infested as well, and now we mostly leave Ogroff and instead follow our nameless female as she tries to escape from her startlingly more supernatural nightmare, which includes zombies, a Motorcycle riding Ogroff (awesome,) spooky ghost eyes, a vampire priest, and some sort of strange sewer ghoul. Ogroff’s role becomes greatly minimized, and in the last thirty minutes the movie changes it’s mind about what it wants to be wildly, like a child losing interest. The result is both confusing and somewhat delightful, and it sort of puts Ogroff over the top and into psychotronic legend. It is by going that extra mile to suck even harder that this movie reaches it’s brass ring.

I do not believe that Ogroff ever had a script, but if it did, and that script was taken to a scriptwriting workshop for peer review, there would be absolutely no aspect of the work that was salvageable. It’s not about what Ogroff does wrong- you see, nothing works. There is no single idea or concept in this work that is worth saving, from an academic perspective, the only way to have improved this while it was still in the script phase would have been to simply destroy it completely and start fresh.

That’s not to say that you can’t enjoy Ogroff– on the contrary, I had a pretty good time. It’s just that you really, really have to accept that the film completely fails to adhere to any form of logic at all. I don’t feel the “mad genius” vibe on here that you might see from Lynch or Jodorowsky, this just feels shabby and poorly executed. When wading through the muck of the psychotronic film genre, sometimes it’s hard to differentiate between what is stupid, and what is insane. I am not sure where Ogroff lands on that plane… That’s for God to decide.

One particularly unforgivable sequence takes place with some French youths who have set up a chess game out in the middle of nowhere. They sit, essentially motionless, for two hundred years, in silence. The scene drags on like I can’t express, it is incredible. I should also mention that there is almost no dialogue in the entire movie. How did Mount think this was okay? The film’s long list of problems would have been a lot easier to overlook had we not also been torpedoed with this excruciating sequence of inaction. Seriously, there’s a girl hanging out with them who moves around a little, but other than that, nothing happens, they just sit and listen to awful synth music on their radio and wait to die. And if that’s what it’s like to be young in France, I would welcome the coming mutilation. Ogroff would be like an angel of mercy if he were taking me out of that horrid purgatory. The scene really is the worst thing the film does, and it’s pretty hard to pardon it.

But Ogroff is still pretty fun… There’s just something about it. Ogroff, the character, is actually pretty likable, he’s just a man doing what he really loves, and that’s always nice to see. Actually, in a very direct way, Ogroff is the main character in this movie; since none of his victims are around long enough, or have anywhere near enough characterization to steal the show away from him, and because all of his mutilatees are already so lifeless and empty to start with, his reign of axe swinging terror doesn’t even feel like a bad thing. The only emotion we ever see in this film is sheer glee, and it comes from Ogroff himself, while he chops madly at strangers. I wish my job made me that happy.

It’s probably worth addressing Ogroff’s reputation for ultra violence; I think it’s undeserved. While it’s absolutely decently gory, especially for a French film, it isn’t going to blow your mind, and if you’ve seen Violent Shit or have spent any time with Italian splatter films or video nasties, you’ve already seen worse. I think maybe it feels more graphic than it is, in part, because it’s so low budget, but also because the violence is done in such a labored, ritualistic fashion, and because the gore effects are actually decent when compared to how piss poor the rest of the production is. Ogroff almost feels like the home movie of a murderous French hillbilly sometimes, so the blood has more weight to it than in films that are clearly more anchored in fantasy. I only bring it up to clarify that if you get your hands on a copy thinking you and your friends are about to take it to the next level, you might be let down.

So, Ogroff is an oddity. Equally terrible and wacky but a lot of fun for people who are accustomed to this kind of movie experience. I recommend it.

WHOA!! Talk about slumming it… This is a grotesquely incompetent production. Let’s start at the beginning… So, I have no idea how this movie wound up at the top of my Netflix queue. It somehow arrived at my house unannounced, and I have no memory of having ever heard of it before. All in all, I am beginning to suspect paranormal intervention. Then I watched it. Wow. This thing is an epic turkey.Avia Vampire Hunter is a remarkably boring and generic story about a woman who has devoted her life to hunting vampires because they “killed her baby.” …Okay? Mostly, her hunting amounts to wandering around parks and neighborhoods wearing budget conscious Matrix cosplay and carrying a ninja sword she bought of Amazon for 60 dollars. Sometimes she finds cheap, plastic skulls or other Halloween Store decorations laying around. On rare occasions she might use her flashlight. Every once in a while she manages, somehow, to find vampires, and then she kills them in a clumsy, slowly acted, badly choreographed fit of bellow average ninja fury. Your neighbor kids are probably making a movie that will surpass this in quality as we speak. Also, she apparently falls in love with a cop pretty much instantly early on in the movie, and at some point the movie tries to establish some sort of tension by floating the idea that maybe Avia is actually crazy and vampires don’t exist. That subplot remains very brutally underdeveloped.
There are a couple points we should probably talk about individually here. Let’s break it down:

MUSIC ~ First and foremost, Avia Vampire Hunter has the most hilariously inept use of score that I’ve ever seen in a movie. Yes, including Birdemic. This one wins out over Birdemic in this category. The music sounds like the editor clearly just bought a ton of public domain (I hope) music by different composers and jammed it in there with all the grace and subtly of an occupied porta-potty tumbling end-over-end down a long staircase. There is a valiant, if not completely insane effort to add suspense to scenes of Avia wandering about mindlessly by using the most suspenseful music available to man. The end result is equally comedic and pitiful. Who did this, and how is it that they didn’t know better?

VAMPIRES ~ This is the closest I can come to actually complimenting this shambling ambulance crash of movie- some of the vampires are creative looking. Others look like your typical mall goths. There is some variety here, but for some reason there is included in this film a vampire troop decked out in bloody blindfolds with Rick James hair and long sticks stuck onto their fingers (I think they’re supposed to be finger nails.) I don’t know why these are in the movie, or why they have bloody blindfolds, or really anything else about them, but in this sea of mediocrity and recycled cliches, these stand apart as slightly more imaginative, so I thought they deserved a mention, whatever the hell they are.

ROMANTIC SUBPLOT ~ The romance between Avia and Lieutenant Whocares (May not be his actual name- I don’t remember, and it’s just not worth a trip to IMDB to find out) is handled so, so terribly. They basically fall in love immediately despite their every interaction feeling skeezy and bleached of any form of humanity whatsoever. Toward the end of the film What’s-His-Name is informed that Avia might be insane, and finds himself under pressure to arrest her for murdering humans who she believes to be vampires (The movie never clarifies if she really is crazy or not)… When I say “put under pressure,” he’s not really put under any sort of pressure at all. Some guy just mentions it to him the same way a frat boy might say “Stay away from that chick, bro, she’s bad news.” This seems like it’s going to be a major plot point, but then he really doesn’t do anything. He acts like he has to, and then he just doesn’t. One gets the impression that writer/director Leon Hunter clearly tried really, really hard with this movie, even if his effort was totally fruitless, so this feels like a weird thing to establish and then completely fail to explore. Are we supposed to accept that Detective Whocares just decides to take her word for it? This is all part of the staggering stupidity with which Avia Vampire Hunter is so generously endowed. Also, it’s really hard to critique Avia Vampire Hunter without launching personal attacks against it’s director, come to find out. I’m trying, though.

TONE ~ This is the most damaging quality found in the fibers of Avia Vampire Hunter. It takes itself really, really seriously. If Leon Hunter had his way, this would not be a fun popcorn flick, this would be a heavy, emotional action piece which volleys between deep canyons of human drama and exciting sequences of sword play and horror. Frequently we are treated to scenes which are meant to show case the talents of our lead actress as she grapples with her inner demons in a struggle as heated and desperate as any Rick James vampire battle ever could be. Of course, no one in this movie can act, so in the end we would have been treated to a better acting tour de force had Hunter just filmed some shoes or a can of tomato sauce for a while. Really anything would have been better. Avia just looks like an idiot trying to wrap her mind around some simple concept she just saw on Sesame Street, but this movie so badly wants for her to be Meryl Streep yanking at your heartstrings like crazy. For all it’s effort, none of what Avia Vampire Hunter tries to do in establishing emotion lands at all, and the movie ends up being less authentic or emotionally hard hitting than say, Ernest Goes to Camp, or a McDonald’s commercial. That wouldn’t matter, but the effort is so apparent that this failure feels particularly devastating.

In closing, Avia Vampire Hunter is unforgivably terrible. Everything about it sucks. One time my mom accidentally filmed the inside of her pocket with her cell phone while she walked around the grocery store, and she asked me to help her delete it. I did, but before I removed this footage from her cellular device I was treated to a movie which bests Avia Vampire Hunter on every conceivable plane of human accomplishment.